2023-12-19 15:49:00
After Toy Story, revealing the real life of toys when humans are no longer there is a mission impossible. Even suicidal. Jérémie Degruson nevertheless tackles it with a certain happiness by recounting the adventures experienced by puppets left to their fate in the heart of New York since their animator died. No one notices the deception, but all is not rosy. Don, a great goofball with an overflowing imagination, can no longer bear to play the role of the systematically buffoonish buffoon forever. Nor to be mocked by the whole troupe, with the exception of pretty Dee. If he can’t become the hero on stage, he will be in real life. Adventure, he knows, awaits him outside. Before his eyes, a simple Loulou to his mother is transformed into a ferocious lion to fight, a manhole into a voracious whale, a windmill into a terrible dragon to be defeated at all costs, a mop into a frightening monster, a can into a soldier fallen on the field of honor and a little mud into terrifying quicksand. So many challenges to overcome for the world to finally recognize its value.
And to narrate his exploits, he can count on DJ Doggy Dog, a short-legged teddy who always raps on the same song and whose courage is not the greatest quality.
Very largely inspired by Toy Story, Don Quixote and Pinocchio, The Inseparables masterfully moves from 3D (for the action) to 2D (for Don’s daydreams), from classical references to modern music, while transforming the banality of everyday life into extraordinary heroic challenges. All at a brisk pace and with humor that is sometimes deliciously absurd, sometimes pragmatically childish. During this epic, supported by choreography by Chris Marques, adults will delight in the references to John Lennon (“A dream you live alone remains just a dream, a dream you live together becomes reality”) or Cyrano de Bergerac (tirades and a peninsular nose), while the children will enjoy the pranks of raccoons, the raps of DJ Doggy Dog, the ravings of Don or references to Jack and the Beanstalk.
The result turns out to be entertaining, breathtaking, full of kindness and even sometimes a little philosophical (“It’s in change that we see the hero’s journey”), while joyfully demolishing prejudices about people we don’t know. . A beautiful ode to imagination, which honors Belgian cinema and is truly timely for the end-of-year celebrations.
Reserved game: a banal comedy to watch with neurons asleep in front of your television rather than in a theater
Are there still screenwriters in French cinema? With Chasse gardee, we would think we had gone back some sixty years, when comedies of distressing indigence were being filmed in spades and which a few specialists in the exercise had to try to save. Today, Jean Lefebvre, Michel Galabru, Paul Préboist and Henri Guybet are replaced by Didier Bourdon, Thierry Lhermitte and Chantal Ladesou, forced to do tons to try to get a few laughs.
The scenario, it is true, does not help them. To allow their boisterous children to let off steam in a garden, a Parisian couple (Camille Lou and Hakim Jemili) buy a magnificent house in the countryside for an unbeatable price. The only constraint: there is a “small easement” on the woods on the property. In reality, a hunting ground for the entire village, which shoots on sight at everything that moves. Between the newcomers and the locals, war will quickly break out. With a big problem: the survival of the village school depends on the presence of the couple’s children.
Even without having studied the complete Mon curé chez les nudistes, the rest is not too complicated to guess. No surprises are to be expected. Not even on the dialogue side, desperately flat. We almost feel sorry for the performers who are completely left to their own devices. Almost…
Like most French comedies, Chasse gardee can therefore be reserved for viewing with your neurons asleep on a Friday evening in front of your television.
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